The best way to make money in local television is to be hired away by the station across the street.

That’s what happened to Stacey Donaldson, meteorologist at Channel 4. Word is, she was lured from KDVR-Channel 31 to KCNC-Channel 4 with the promise of $1 million spread over four years.

“I can’t comment on that,” Donaldson said by phone. “It’s a great opportunity for me.” As far as the strategy of boosting a salary by switching stations, she said, “If you can stay in the market, that’s a great thing.”

Not bad for a morning weathercaster with average audience recognition. But don’t count on making big bucks in media these days. Local television is a business of haves and have-nots.

Most viewers mistakenly believe anyone who reads the news on local TV must be rolling in dough. Maybe they’ve heard of Katie Couric’s reported $15 million-a-year CBS salary and figure anyone scanning a teleprompter has it made.

Local TV is different.

In fact, only a few Denver anchors make over a half-million bucks a year. Think Adele Arakawa, Jim Benemann (who jumped from Channel 9 to Channel 4) and, Ron Zappolo (who went from sports at Channel 9 to news at Channel 31). They are the names who provide the image and star power, who serve as figureheads for their stations. They are their brands.

Longtime weatherguy Mike Nelson is likely in this circle of top earners, too, having made the jump from KUSA to KMGH in 2004.

Mind you, none of these salary figures were confirmed firsthand, but station executives with firsthand knowledge were consulted along the way toward educated guesses.

A handful of investigative- reporter notables make a decent living, hovering around the $200,000-250,000-a-year mark. Marquee names Paula Woodward, Brian Maass and John Ferrugia are in that range. They’re the strong reporters with great contacts who deliver promotable content (formerly known as “news”) during ratings sweeps months.

Starting salaries for TV general-assignment reporters remain at around $45,000. Reporters who hustle may inch up to $75,000 after five years of experience. To get to Denver, however, they’ve usually had to hopscotch the country, climbing from smaller markets, working odd shifts and covering wee-hour traffic accidents in the sleet, appearing cheerful.

“Back to you!”

Field photographers start at $20 an hour and are lucky to make $60,000 a year as veterans lugging equipment. Producer salaries range from $35,000 to $65,000 a year.

So who’s the highest-paid anchor in Denver?

Adele Arakawa, who’s been the leading lady at the leading station through several contract cycles since 1993, and who came from Chicago, where she was already making a good salary, would be a good bet.

Insiders say Denver television salaries are relatively low, considering this is the 18th-largest market in the country. Word on the street is that Gannett’s KUSA keeps salaries supressed for everyone. (Newcomers are taught it’s an honor to work there; money is beside the point).

Execs note some salaries have gone backward in renegotiation as the business has changed in the last 10 years.

With the Internet vying for attention and streamlining the rule of the day, the business is contracting rather than expanding. Overall, unless you are one of a select few, TV journalism is not a high-paying field.